清代徽墨装饰艺术的演变及其原因研究

发布时间：2018-03-19 08:12

本文选题：清代徽墨　切入点：装饰艺术　出处：《复旦大学》2014年硕士论文　论文类型：学位论文

【摘要】：徽墨是文房四宝之一,是日用消耗品。晚明以来,随着视觉艺术的兴盛,徽墨的装饰艺术也繁荣起来,使之具有了工艺品的身份。使用价值与艺术价值的叠加,有效地唤起了书画家、收藏家的收藏徽墨与研究徽墨的热情。迄今为止,关于徽墨的书籍多而杂,大多是介绍性质的,而非研究性质的；藏家及博物馆编纂的图录材料丰富,但是体系性不强。清代徽墨装饰演变的线索,以及促成演变的原因未曾被严肃地思考过,这是本文意欲解决的问题。笔者的研究有助于从社会需求、社会文化层面更加深入、全面、立体地理解某种装饰艺术的产生与变化。本文的研究对象是清代徽墨装饰艺术,主要从造型、纹饰、铭文三方面切入研究。笔者在第二章中,运用文物学分期断代的方法,构建清代徽墨装饰艺术演变的框架,为进一步研究打下基础。第三章、第四章运用接受美学的思维,研究文人趣味对徽墨设计的影响。文人对徽墨装饰艺术的态度,决定了他们以什么样的姿态参与徽墨制造。明清墨谱中保存有大量的当时人的题识,凭借乎此,可以明晰地看出文人对徽墨装饰艺术的态度的变化。书画艺术以及金石学是文人钟情的领域,其发展脉络与徽墨装饰艺术的演变存在同步性,笔者通过分析这个同步发展的过程,来说明前者对后者的强大影响力。在第一期中,新安画派直接导致徽墨主体纹饰的题材及表现手法的转变；在第二期中,金石学的复兴、文物收藏的兴盛,使徽墨造型有了新的借鉴对象；在第三期中,金石学研究范围扩大,仿瓦当造型、仿金石铭文的现象大量出现在徽墨上；碑学书法的产生,使徽墨铭文摆脱了单一的馆阁体；海派绘画进入主体纹饰,独具特色的海派徽墨由此诞生。
[Abstract]:Since the late Ming Dynasty, with the prosperity of visual art, the decorative art of ink has also flourished, making it have the identity of handicraft, the superposition of use value and artistic value. It has effectively aroused the enthusiasm of painters and collectors to collect and study Hui ink. So far, books on Hui ink have been numerous and miscellaneous, mostly of an introductory rather than a research nature; collectors and museums have compiled a wealth of materials for the compilation of pictures and records. However, the system is not strong. The clue of the evolution of the Qing Dynasty emblems and ink decoration and the reasons for the evolution have not been seriously considered. This is the problem this paper intends to solve. The author's research will help to deepen the social needs, social and cultural aspects. The object of this paper is the decoration art of the Qing Dynasty, mainly from three aspects of modeling, decoration, inscription. The author in the second chapter, In this paper, the author uses the method of historical relics to construct the framework of the evolution of embossed ink decorative art in Qing Dynasty, which lays the foundation for further research. Chapter three, Chapter 4th, applies the thinking of reception aesthetics. This paper studies the influence of literati's taste on the design of Hui ink. The attitude of literati towards the decoration art of Hui ink determines what kind of attitude they take to participate in the making of Hui ink. There are a large number of people's knowledge of the period in the ink spectrum of Ming and Qing dynasties, by virtue of this. It can be seen clearly that the change of the attitude of the literati towards the decoration art of Hui ink. Calligraphy and painting art and the study of gold and stone are the fields of love among the literati, and the development of them is synchronized with the evolution of the decoration art of the emblem and ink. By analyzing this process of synchronous development, the author explains the powerful influence of the former on the latter. In the first episode, the Xinan School of painting directly leads to the changes in the subject matter and expression techniques of the main embossed ink ornaments; in the second phase, the revival of the theory of gold and stone. The prosperity of the collection of cultural relics has given a new object for reference in the modeling of emblems. In the third period, the scope of the study of gold and stone has been expanded, and the phenomenon of imitating the inscriptions of the inscriptions of gold and stone has appeared in large numbers in the ink of the emblem. The inscription of emblem ink got rid of the single style of pavilion, and the painting of Shanghai school entered into the main pattern, thus the distinctive emblem ink of Shanghai school was born.
【学位授予单位】：复旦大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：K875.4

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